DOCSLIB.ORG

This Is the Accepted Manuscript of Katharine Massam, “Cloister and Community” in a Not So

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
This Is the Accepted Manuscript of Katharine Massam, “Cloister and Community” in a Not So 1 This is the accepted manuscript of Katharine Massam, “Cloister and Community” in A Not So Unexciting Life: Essays in Honor of Michael Casey OCSO ed. Carmel Posa, Cistercian Studies 269, Collegeville, MN: Liturgical Press, 2017. Cloister and Community Katharine Massam Concepts of place have a resonant history within monasticism. Touchstones of monastic life often have a spatial dimension: stability and pilgrimage, boundaries and hospitality, even the balance of solitude and corporate life. Paying attention to the way monasticism is lived, in and across spaces, enlivens our understanding of the values that inform it. As Philip Sheldrake has suggested for monasteries in general, the cloister in particular is what Foucault might have called a heterotopia: one real location that represents several different sites at once.1 Balanced by controlled entry between isolation and accessibility, a heterotopia throws other locations into relief and challenges definitions of normal. Foucault had in mind museums, libraries and Japanese gardens representing a cosmos within themselves, but for the medieval world the cloister also stood at the heart of the monastic commitment, and on at least one reading, was that heart. This essay outlines the development of the medieval cloister as an architectural form, for nuns as well as monks. Acknowledging the “spatial turn” in the humanities more broadly, I 1 Michel Foucault, “Of Other Spaces” (1967) cited in Philip Sheldrake, “The Practice of Place: Monasteries and Utopia,” ABR 53 (2002): 10, n.18. 2 explore the “cloister” as part of the paradox in Christianity where any particular location is potentially both a place of encounter with God and a liminal boundary between “here” and the “beyond” of discipleship.2 In tracing concerns to set aside the space and also to protect and control it, I argue that the cloister was not only a real and specific location, but also a space that carried allusions beyond itself. The cloister reflected choices within the monastery and also became a resource for those choices and a value in monastic life. The monastic cloister echoed with meaning in the Middle Ages. It continues to resound with significance today, not only in religious communities that maintain a physical cloister but also beyond them. As political responses to the refugee crisis of the twenty first century falter and churches in Australia revive the ancient pledge of “sanctuary” in the face of threat,3 the cloister remains potent as both a haven and a source of faithful discipleship. Place, Space and Values As the British theologian Timothy Gorringe observes that, “to be human is to be placed.”4 Bodies take up space, being a person involves “being there”,5 and building shelter is an intensely human activity. For the Roman architect and engineer Vitruvius (d. 15CE), writing in the first century BCE, humanity became itself by building, and the geometry of the human body became the geometry of classical architecture, re-discovered by Leonardo da Vinci (1452-1519) in the 2 Key resources include Philip Sheldrake, Spaces for the Sacred: Place, Memory and Identity (Baltimore, ML: Johns Hopkins University Press, 2001); Belden Lane, Landscapes of the Sacred: geography and narrative in American spirituality (New York: Paulist Press, 1998); Yi-Fu Tuan, Space and Place: The Perspective of Experience (Minneapolis, MN: University of Minnesota Press, 1977). 3 Justin Glynn, “Offers of sanctuary brighten Australia’s refugee dark age,” Eureka Street vol. 26 (2), http://www.eurekastreet.com.au/article.aspx?aeid=45954#.V0Y2W2Y3JFU Accessed 25 May 2016; Peter Catt, “Why I Offered Sanctuary to Asylum Seekers,” The Melbourne Anglican, 26 May 2016. http://tma.melbourneanglican.org.au/opinion/sanctuary-peter-catt-230316 Accessed 25 May 2016. 4 Timothy J. Gorringe, A Theology of the Built Environment: Justice, Empowerment, Redemption (Cambridge: Cambridge University Press, 2002), 1. 5 Phillip Sheldrake, Spaces for the Sacred: place, memory and identity (Baltimore MY: The Johns Hopkins University Press, 2001), 7, draws on Martin Heideggar to elaborate this. See Heideggar, “An Ontological Consideration of Place”, The Question of Being (New York: Twayne Publishers, 1958), 26. 3 Italian Renaissance and remembered now by proponents of human-scale “vernacular” town planning in Scandinavia and elsewhere.6 When we build shelters, we build symbols. “Bodies themselves generate spaces” argued Henri Lefebvre in 1991.7 His path-breaking work on The Production of Space warned against overuse of the term “space” by linguistic philosophers who gave too little attention to the human decisions that create both intellectual and physical realities. His firm reminder of the need to bridge mental and material space, not least by attention to everyday life, pointed to market halls, porticos, sportsgrounds, cemeteries, houses and basilicas as well as cloisters as places “produced by and for” the “ritualised and codified gestures” of human bodies.8 The monastic cloister shared a monastic language with the monks; it produced and was produced by a set of ritualized gestures (of walking, reading, praying, working).9 Lefebvre sees it as “a grand creation” in which signs and symbols give physical expression to a worldview, “mooring a mental space… to the earth”10 and sustaining practices of that flow from that mental space. Here, then is a space in which a life balanced between the contemplation of the self in its finiteness and that of a transcendent infinity may experience a happiness composed of quietude and a fully accepted lack of fulfilment. As a space for contemplatives, a place of promenade and assembly, the cloister connects a finite and determinate locality 6 Marcus Vitruvius Pollio. The Ten Books of Architecture, trans. Morris Morgan (Cambridge, MA: Harvard University Press, 1914), 38 (2.II.i); on da Vinci see M. J. Ostwald and John R. Moore, Disjecta Membra: The Architect, the Serial Killer, his Victim and her Medical Examiner (Sydney: Arcadia Press, 1998); on contemporary theology and architecture Seppo Kjellberg, Urban Eco-theology (Utrecht: International Books, 2000), 26; all cited Gorringe, Built Environment, 1-11 who promotes “vernacular” architecture as the ethical way forward. 7 Henri Lefebvre, The Production of Space, trans. Donald Nicholson-Smith (Oxford: Blackwell, 1991), 216. 8 Lefebvre, The Production of Space, 3-7 accuses Foucault, Chomsky, J. M. Rey, Kristeva, Derrida, and Barthes of disregarding the gap between mental and physical or social space. 9 Lefebvre, Production of Space, 216-17. 10 Ibid., 217. 4 – socially particularized but not unduly restricted as to use, albeit definitely controlled by an order or rule – to a theology of the infinite. Columns, capitals, sculptures – these are semantic differentials which mark off the route followed (and laid down) by the steps of the monks during their time of (contemplative) recreation.11 It is a simple enough point, that the environment shapes and reflects meaning, but the code is not an end in itself, rather “it reproduces itself within those who use the space in question, within their lived experience.”12 Mircea Eliade’s concept of a sacred location as an axis mundi, a metaphorical centre of the world separated from secular surrounds but linking earth to heaven, opened up discussion of place as a dynamic and a variable in spiritual encounter. With Edith and Victor Turner, who drew on the axis mundi to explore what they called the communitas of individuals formed by their experience of a site or a pilgrimage to it, Eliade implied such sites were both universal and carried a single meaning.13 As social geographers and cultural historians as well as theologians have engaged with the experience of space and place, the many interpretations of a location and the idea of single readings has been overtaken by attention to the multiple meanings potentially embedded in a single site, and the political contest that validates some readings over others.14 Place is multi-dimensional, and Christian theology can explore it fruitfully. Traditionally Christian thinkers have paid more attention to time in relation to God than to place, but both are similarly complex. The distinction between the regular tick of chronos and 11 Ibid., 217. 12 Ibid., 137. 13 Mircea Eliade, The Sacred and the Profane (New York: Harcourt Brace, 1959); Victor Turner and Edith Turner, Image and Pilgrimage in Christian Culture: anthropological perspectives (Oxford: Blackwell, 1978). See also the discussion in Sheldrake, Spaces, 5. 14 Sheldrake, Spaces, 6 n.13. 5 the elastic experience of kairos as moments of revelation unfold, is relatively well-known. There is a parallel distinction to be made in relation to concepts of place captured in the Greek terms topos and khora. On the one hand there is the map, the topography of location, and on the other there is the site of encounter, the “interval” between the locations or the notes on a musical score.15 For Christians attention to the particularity of the experience of a single place of revelation is in paradoxical tension with the reality of God who cannot be confined to local sites. There is both place, the experience of being on “holy ground”, and placelessness, of moving towards what is to come. There is both the Incarnation and the empty tomb of Jesus Christ who has gone ahead to Galilee. Christianity holds that the particular is the doorway to the universal, the beyond. The unique “this-ness” of God’s creation calls Christian disciples to live into the reality where
Load more

Recommended publications
  • A Berkeley Home for Textile Art and Scholarship, 1912•Fi79
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UNL | Libraries University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2004 A Berkeley Home for Textile Art and Scholarship, 1912–79 Ira Jacknis University of California, Berkeley, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Jacknis, Ira, "A Berkeley Home for Textile Art and Scholarship, 1912–79" (2004). Textile Society of America Symposium Proceedings. 448. https://digitalcommons.unl.edu/tsaconf/448 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. A Berkeley Home for Textile Art and Scholarship, 1912–79 Ira Jacknis Phoebe Hearst Museum of Anthropology University of California, Berkeley [email protected] For the first half of the twentieth century, the University of California at Berkeley was a national center for the study and creation of the textile/fiber arts. This essay outlines, for the first time, the history of the now vanished department that nourished this important activity.1 The Rise and Fall of a Department: A Short History During its almost seventy-year existence—from its beginnings in 1912, under Mary Lois Kissell, until its demise in 1979, with the retirement of its last professor, C.
    [Show full text]
  • Division, Records of the Cultural Affairs Branch, 1946–1949 108 10.1.5.7
    RECONSTRUCTING THE RECORD OF NAZI CULTURAL PLUNDER A GUIDE TO THE DISPERSED ARCHIVES OF THE EINSATZSTAB REICHSLEITER ROSENBERG (ERR) AND THE POSTWARD RETRIEVAL OF ERR LOOT Patricia Kennedy Grimsted Revised and Updated Edition Chapter 10: United States of America (March 2015) Published on-line with generous support of the Conference on Jewish Material Claims Against Germany (Claims Conference), in association with the International Institute of Social History (IISH/IISG), Amsterdam, and the NIOD Institute for War, Holocaust, and Genocide Studies, Amsterdam, at http://www.errproject.org © Copyright 2015, Patricia Kennedy Grimsted The original volume was initially published as: Reconstructing the Record of Nazi Cultural Plunder: A Survey of the Dispersed Archives of the Einsatzstab Reichsleiter Rosenberg (ERR), IISH Research Paper 47, by the International Institute of Social History (IISH), in association with the NIOD Institute for War, Holocaust and Genocide Studies, Amsterdam, and with generous support of the Conference on Jewish Material Claims Against Germany (Claims Conference), Amsterdam, March 2011 © Patricia Kennedy Grimsted The entire original volume and individual sections are available in a PDF file for free download at: http://socialhistory.org/en/publications/reconstructing-record-nazi-cultural- plunder. Also now available is the updated Introduction: “Alfred Rosenberg and the ERR: The Records of Plunder and the Fate of Its Loot” (last revsied May 2015). Other updated country chapters and a new Israeli chapter will be posted as completed at: http://www.errproject.org. The Einsatzstab Reichsleiter Rosenberg (ERR), the special operational task force headed by Adolf Hitler’s leading ideologue Alfred Rosenberg, was the major NSDAP agency engaged in looting cultural valuables in Nazi-occupied countries during the Second World War.
    [Show full text]
  • March-April 1996 CAA News
    5 the mall corridors between the Hynes Techno­ King­ Convention Center and the hotel com­ plexes. Certainly the CAA has, by the sheer logistics of location, established a Seduction Hammond: new relationship between scholarship, professionalism, and fitness. CAA is most appreciative of the outstanding hospital­ President ity offered by the Boston hotels and the Hynes Convention Center. In all, 4,500 people registered for the conference, and n response to the membership another 1,200 purchased session tickets. survey in which members expressed I would like to thank CAA confer­ a desire for more visual art at the hat a great pleasure it was ence coordinator Suzanne Schanzer and I to be in Boston and see so annual conference, the Visual Artists CAA deputy director Jeffrey Larris for many old friends and Committee of the CAA Board of W their unstinting support and attention to colleagues. It was even more exciting to Directors announces the exhibition detail in Boston. A special congratulations meet the rapidly growing numbers of theme for the 85th Annual Conference is in order for CAA executive director new members and make new acquain­ in New York in 1997. Techno-Seduction is Susan Ball, who celebrated her ten-year tances with long-standing members a national juded exhibition open to all anniversary with CAA in Boston (see from institutions all over the U.s. and CAA members, sponsored by the Visual "Board Honors Ball," page 9). Also, I abroad. More interesting, however, are Artists Committee and the Cooper extend hearty thanks to membership the swelling numbers of unaffiliated 5 Union for the Advancement of Science manager Theresa Smythe and her entire members I met who function as and Art.
    [Show full text]
  • Cuyahogareview ISSN 0737-139X
    CuyahogaReview ISSN 0737-139X VOLUME ONE " SPRING1983 " NUMBER ONE TABLE OF CONTENTS Editor's Note The St. Gall Papers: An Introduction DAVID M. CRATTY The World of Saint Gall JOSEPH H. LYNCH The Plan of St. Gall and Medieval Ecclesiastical Palaces GARY M. RADKE Benedictine Child Rearing: Architectural Clues from the St. Gall Plan PATRICIA A. QUINN The Plan of Saint Gall and the Monastic Reform Councils of 816 and 817 EDWARD A. SEGAL 57 The Ninth-Century Library at St. Gall JOHN J. BUTT 73 Early Medieval Irish Exegetical Texts at Saint Gall JOSEPHF. KELLY 77 The Quarrel between Gallus and Columbanus MICHAEL HERREN 89 (continued on next page) 2" CUYAHOGA REVIEW The Chronicles of St. Gall JOHN D. CRANE The St. Gall Festival RICHARD CHARNIGO and JEROME M. McKEEVER 105 Notes on Contributors 115 Art Credits: PAUL SCHUPLIN cover, 104 JESSIE THERIOT 7 DEBBIE JOSEPHS 10 SR MARY ROBERT CLAIR, S.N. D. 22,100,116 MARGARET MEEK 34 GEORGEP. KEMP 56 JIM RIZEN 72 KATHY FOLCIK 88 Photo Credits: RICHARD CHARNIGO : 06.08 110-11 The Plain Deuler / GEORGE HEINZ 109 University of California Press 112 The Cuyahoga Review was set in English Times by Christine Heyman, Galeshuk. Photo Larry Mack. Becky Mack, J. Farmer, and Linda pro- duction was by Ken Riley; additional production assistancewas pra`1d- Mackenzie Ron Humphrey. The cd by Judy and CuyahogaRevie4' was printed by Brownprint of Cleveland, Ohio. Cover: Thirteenth-century French castle. Pen and Ink by Paul Schuplin. Editor's Note Though it wasin the planning stageslong before Columbus Day.
    [Show full text]
  • Oral History Interview with Moira Roth, 2011 April 22-24
    Oral history interview with Moira Roth, 2011 April 22-24 This interview is part of the Elizabeth Murray Oral History of Women in the Visual Arts Project, funded by the A G Foundation. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Moira Roth on April 22-24, 2011. The interview took place in Berkeley, Calif., and was conducted by Sue Heinemann for the Archives of American Art, Smithsonian Institution. This interview is part of the Elizabeth Murray Oral History of Women in the Visual Arts Project, funded by the A G Foundation. Moira Roth and Sue Heinemann have reviewed the transcript. Their corrections and emendations appear below in brackets with initials. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview SUE HEINEMANN: This is Sue Heinemann interviewing Moira Roth at her home in Berkeley, California, on April 22, 2011, for the Archives of American Art, Smithsonian Institution, card number one. So Moira, I thought we'd just start with your childhood and early period. MOIRA ROTH: Well, what I've done in preparation for this is to pull together a number of documents, including my mother's birth certificate, my parents' marriage and my own birth certificate and a couple of photographs about my mother. So let me begin by this: My mother was Scottish-Canadian and was born in Canada, and on her birth certificate she says she's the daughter of Duncan McClellan.
    [Show full text]
  • A Finding Aid to the Walter Horn Papers, 1908-1992, Bulk 1943-1950, in the Archives of American Art
    A Finding Aid to the Walter Horn Papers, 1908-1992, bulk 1943-1950, in the Archives of American Art Rihoko Ueno Funding for the processing of this collection was provided by the Samuel K. Kress Foundation. 2012 July 23 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Scope and Contents........................................................................................................ 3 Biographical / Historical.................................................................................................... 2 Arrangement..................................................................................................................... 4 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Biographical Materials, 1908-1989........................................................... 5 Series 2: Correspondence, 1949-1992, circa 1937.................................................. 7 Series 3: U. S. Army Monuments, Fine Arts & Archives Section Files,
    [Show full text]
  • Oral History Interview with Walter Askin, 1992 March 4-6
    Oral history interview with Walter Askin, 1992 March 4-6 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface ORAL HISTORY INTERVIEW WITH WALTER ASKIN IN HIS STUDIO IN PASADENA, CALIFORNIA MARCH 4, 1992 INTERVIEWER: PAUL J. KARLSTROM Interview WA: WALTER ASKIN PK: PAUL KARLSTROM PK: This is the Archives of American Art, Smithsonian Institution, an interview with Walter Askin at his studio in Pasadena. What's the address here? WA: 26 West Dayton. PK: Near Old Town Pasadena. The date is March 4, 1992. This is tape one, the beginning of the interview, probably the first of two sessions. The interviewer is Paul Karlstrom. We have just had an enjoyable breakfast, on the archives, which is the way we like it, and this should hold us for maybe two hours. We'll see. First I want to say I'm delighted that we can do this. I think it's going to be fun. I'm looking forward to it, and I also think that you'll have some very special information to share regarding your own work, but this community as well. I think that maybe right up front we could say this that you, of course, have your own career, your own work, your own life to talk about today, but also I think you've been in a very interesting place as an observer over a career that spans, what, about forty years, I suppose.
    [Show full text]
  • Oral History Interview with Jay Defeo, 1975 June 3-1976 January 23
    Oral history interview with Jay DeFeo, 1975 June 3-1976 January 23 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Jay De Feo on June 3, 1975, July 18, 1975, and January 23, 1976. The interview took place in Larkspur, California, and was conducted by Paul J. Karlstrom for the Archives of American Art, Smithsonian Institution. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. This is a rough transcription that may include typographical errors. Interview PK: What I'd like to do today in our conversation is lay in some biographical information about your background and your personal experiences. One of the outstanding experiences of your life, of course, was all the time and effort devoted to The Rose, your major painting. But I thought what we could do today is save The Rose for a second interview and really talk about Jay and the events leading up to that very important experience. So what I'd like to ask first of all is for you to give some biographical information, especially as it might tie in with your later career as an artist. Obviously, when you were only a couple of years old you can't remember anything that was art-oriented.
    [Show full text]
  • History of Art, University of California, Berkeley Fall 2010 Newsletter
    Second Annual Newsletter for Friends of the Department 2010-2011 FACULTY LECTURE SERIES: NEW WORK First Mondays of each month (except for holidays), 5:10 p.m., 308J Doe Library October: Chris Hallett, “Spirantia Aera, Vivos Vultus, Breathing Bronze, Living Faces: The Making of Portraits at Aphrodisias and Rome.” November: Marian Feldman, “Beyond Iconography: Meaning- Making and Cylinder Seals in the Late Bronze Age Aegean.” December: Beate Fricke, “Bloodstained origins. Tracing rays between origins of natural and artificial life”. February: Todd Olson, “Thundering Jupiter: Poussin’s Miracle of Saint Xavier, Japan, and Antiquity.” Detail, Poussin, Miracle of Saint Xavier, 1641-2. Paris, Louvre. [Photo: Todd Olson] April: Lisa Pieraccini, “The Ever Elusive Etruscan Egg”, MORE UPCOMING EVENTS: April 4th. THE MATERIAL WORLD IN SOCIAL LIFE, Greg Levine, “Buddha Head in a Tree: Fragments, a workshop co-organized by Marian Feldman and Devotion, and Tourism at Wat Mahathat, Professor Chandra Mukerji (UCSD), October 15. Ayutthaya”, April 11th. Consisting of an open session of short presentations and discussion, the workshop asks how material May: objects construct and embody an order of things, Elizabeth Honig, “Idea, Intention, Individuality: shaping conditions of possibility for social life and Rethinking Art-Making Through Antwerp’s forms of thought in both intended and unintended Collaborative Practices.” ways. Participants include a range of historians, art historians, archaeologists, and sociologists. ALUMNI LECTURE SERIES October: Contents Julia Bryan-Wilson, “Practicing Trio A. “Tuesday, October 19th, 5:10 pm. SOME EVENTS of 2009-2010 4 TRAVEL SEMINAR 7 November: TRIBUTES: 9 Julian Myers, ”Permanent Revolution” Tuesday JOANNA WILLIAMS, November 9, 5:10 pm.
    [Show full text]
  • NARA Microfilm Publication M1946
    M1946 RECORDS CONCERNING THE CENTRAL COLLECTING POINTS (“ARDELIA HALL COLLECTION”): MUNICH CENTRAL COLLECTING POINT, 1945–1951 M’Lisa Whitney prepared this introduction and supervised the arrangement of these records for microfilming. National Archives and Records Administration Washington, DC 2009 Library Cataloging INTRODUCTION On the 334 rolls of this microfilm publication, M1946, are reproduced the administrative records, property cards, and photographs of artworks and of activities from the Munich Central Collecting Point during the period 1945–51. The Monuments, Fine Arts and Archives (MFAA) Section recovered Nazi-looted works of art and artifacts from various storage areas and shipped the objects to one of four U.S. central collecting points, includ- ing Munich. In order to research restitution claims, the MFAA officers gathered intelli- gence reports, interrogation reports, captured documents, and general information regarding German art looting. The Munich records are part of the “Ardelia Hall Collection” in Records of United States Occupation Headquarters, World War II, Record Group (RG) 260. BACKGROUND The basic authority for taking custody of property in Germany was contained in Joint Chiefs of Staff (JCS) Directive 1067/6, which directed the U.S. Zone Commander to “impound or block” certain specified categories of property, including those of the German Reich; the Nazi Party and affiliated organizations and their prominent members; and absentee owners of non-German nationality, including United Nations and neutral governments and individuals. The American Zone Commander was also required to impound all property that was transferred under duress or through wrongful acts of confiscation, disposition, or spoliation, and to block the relocation of works of art and cultural material of value or importance, regardless of its ownership.
    [Show full text]
  • The Plan of St. Gall : Production Materials, 1967-1979
    http://oac.cdlib.org/findaid/ark:/13030/tf3x0n99vf No online items Guide to the The Plan of St. Gall : production materials, 1967-1979 Department of Special Collections Green Library Stanford University Libraries Stanford, CA 94305-6004 Phone: (650) 725-1022 Email: [email protected] URL: http://library.stanford.edu/spc © 1999 The Board of Trustees of Stanford University. All rights reserved. Guide to the The Plan of St. Gall : Special Collections M0344 1 production materials, 1967-1979 Guide to the The Plan of St. Gall : production materials, 1967-1979 Collection number: M0344 Department of Special Collections and University Archives Stanford University Libraries Stanford, California Contact Information Department of Special Collections Green Library Stanford University Libraries Stanford, CA 94305-6004 Phone: (650) 725-1022 Email: [email protected] URL: http://library.stanford.edu/spc Processed by: Special Collections staff Date Completed: ca. 1984 © 1999 The Board of Trustees of Stanford University. All rights reserved. Descriptive Summary Title: The Plan of St. Gall : production materials, Date (inclusive): 1967-1979 Collection number: Special Collections M0344 Creator: Horn, Walter William, 1908- Extent: 40 linear ft. Repository: Stanford University. Libraries. Dept. of Special Collections and University Archives. Language: English. Access Restrictions None. Publication Rights Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections. Provenance Gift of Mr. and Mrs. Ernest Born, August 1981 and October 1985, and Lorna Price, 1984. Preferred Citation: [Identification of item] The Plan of St.
    [Show full text]
  • Winter 2010-2011 MIRROR Newsletter
    THE MIRROR The Richmond Museum Association Newsletter Winter 2010 -- 2011 RICHMOND RESIDENT RECOVERS “HITLER’S HOLY RELICS” by Jim Becker Richmond’s was on the cross), and the Crown Jewels of the Holy Roman history during Empire, a crown, orb, scepter and imperial sword. Hitler, like World War II is well rulers from Charlemagne to Napoleon before him, planned to use documented. Not these art objects as a rallying point for the creation of a new so well-known was state; in this case a Fourth Reich. the heroic work of Captain Walter When the U.S. Seventh Army invaded Nuremberg, they un- Horn, a Richmond covered the vault, but the Spear of Destiny and the Crown Jew- resident whose ex- els had been stolen. These relics were all crucial to the corona- ploits are now docu- tion of a new Emperor, and Nazi records indicated that they had mented in the book been in the vault, but who had stolen them, and why? Hitler’s Holy Relics by Sidney Supreme Allied Commander General Dwight D. Eisenhower Kirkpatrick. ordered Walter Horn to hunt down the missing treasures. Due to SEE HORN, CONTINUED ON PAGE 4 Walter Horn was born in Waldangelloch, The Crown of the Holy Roman Empire Germany, in 1908. A student of art history, Horn received his Ph.D. from Hamburg University in 1937. His strong and vocal opposition to Hitler’s National Socialist Party led him and many other Germans to emi- grate to the United States, invited by Professors Worth Ryder and Erwin Panofsky. He moved to Richmond, California, and became a visiting lecturer at the University of California at Berke- ley in 1939.
    [Show full text]